La race des violents

A reasonably entertaining jungle action turkey. The plot has something to do with with the far east drugs war, CIA, young prostitutes and mercenaries. Fluffy indeed.

Lots of pyrotechnics and gunplay make this one watchable, but bad acting and tremendously bad script work in the other direction.

Released on video in Finland in the early eighties.

I caught up with this movie in the late eighties when I rented it on a local video store. It was a bad recorded VHS tape transfered directly from a bad 35mm copy. The main reason I rented it is because Carol André, the beautiful actress from the SANDOKAN TV series was on the cast. The movie is incredibly awful, beyond the worst I have seen so far. Bad actors, terrible acting, horrible script, unintelligible plot and some sequences that really made me feel guilty for having rented it. Unforgettable is the character Polo, one of the most naff villains to appear ever on an action movie. Also the scenes with the silly and clumsy main character jumping in and out of windows really made me laugh out loud. No doubt I expect the day to watch it again to laugh again at it. But this time I expect not to pay a single cent.

My review was written in December 1985 after watching the movie on MGM/UA video cassette.

Italian filmmaker Fernando Di Leo seems to have made the actioner "The Violent Breed" without a finished script. Story and characters' behavior makes no sense at all and the action is perfunctory. Domestic distributor Cannon Films elected to send this 1983-lensed junker direct to home video without theatrical exposure.

Henry Silva toplines (in a very small role) alongside the ubiquitous Harrison Muller and vet Woody Strode as three commandos whose mission to rescue kids in Southeast Asia leads to an unexplained falling out when Strode turns against his buddies.

Without transition, next scene is back in the States, with Silva now a CIA honcho sending Muller back to the Cambodia/Thailand/Laos border area in search of Strode. It seems that Strode, in league with the KGB and the Mafia, is running drugs and arms and generally acting like a nogoodnik. Muller teams up with a beautiful, underage prostitute there to find Strode's camp and ludicrously offer him a deal whereby the U. S. government would best the Russians and the Mafia's price for drugs. This leads to pointless shootouts.

Finale, making no sense from what has gone before, has Silva, Muller and Strode suddenly teamed up for another mission, the slate magically wiped clean.

If you can believe this nonsense, you'll probably believe in Strode, dubbed with another person's voice, as a character named Paolo.

Harrison Muller and Woody Strode are reunited after their triumphant 1982 classic "The Final Executioner" for this completely idiotic Italo action non-epic from certified hack Fernando di Leo.

The film begins in Vietnam, with Muller, Strode (who must be the oldest grunt in cinema history), and platoon leader Henry Silva rescuing some children. Silva is shot and Strode digs the bullet out of his chest with a knife in a scene that must be seen to be disbelieved. Then, out of nowhere, Strode (playing a character named "Polo") sends Muller and Silva on their way, while he stays behind.

Turns out Polo is running some kind of drug and prostitution ring based in Thailand that has ties to the Mafia, the KGB, and the CIA. Silva, now a CIA agent, sends top man and chronic Wrangler-wearer Muller to Thailand to stop Polo's reign of nonsensical terror.

Nothing makes sense: Silva recites his lines like he's talking to a 3-year-old, Muller is glib at all the wrong times (he's strung up and about to be killed by Strode, and he keeps asking for a beer), weeks seem to go by, yet Silva (who, despite his top billing, has hardly any screen time after the opening sequence) and the people at the CIA always seem to be wearing the same wardrobe, and Muller & Silva even kiss at one point.

The most jawdropping aspect of the film has to be the extended climactic siege, where Muller and a prostitute take refuge in a brothel while Strode's army attacks. This portion of the film is more drawn out than the live version of "Stairway to Heaven." The action takes place in a small, enclosed camp, with Muller and the girl running from building to building, yet Strode and the most poorly-trained, inefficient platoon this side of "Gomer Pyle USMC" can't seem to see them, and even when they do, they all run after them one at a time, enabling Muller to easily dispose of them.

Add to that a "surprise" ending without a semblance of coherence or sensibility and you've got something that even bad movie purists won't be able to handle.

On a mission in Vietnam Kirk, Mike and Polo are the only survivors of their platoon who rescue a bunch of children, but Polo stays behind when they get to their boat and tells them to leave. Polo happens to be in arms and drug trafficking operation with the KGB and the mafia. Kirk now working for the CIA sends out Mike to Vietnam to stop Polo's enterprise.

What an incoherent mess. The good folks of Cannon produce this very low-rent Italian b-action fodder. Well there's not a whole lot to say about this one, but it's poorly executed and the cast are all but washed up. Woody Strode and Henry Silva go through the motions with such little effort, while the leading man Harrison Muller provides the personality, but his timing seems off. Most the time his running and jumping in or out of windows. Those sneakers of his cop a real work out. Carole Andre's sly part was small, but prominent. The no frills action drags on, especially the film's final standoff where the bad guys have terrible aim and plenty of explosions are assured. The continuous gun fire also made sure that there was some bloody pulp. But boy does it go on, because if feel like its in slow motion! The tempo throughout stays mellow and lacks oomph. How about that conclusion though?! Talk about baffling. The one-man team of Fernando Di Leo who directed and wrote the screenplay and story does a clumsy job on all fronts. The whole premise is slipshod and embarrassingly one-note, and the insipid script chalks up many tacky lines. His blunt direction is quite aimless and clunky. Being shot location in the Philippines gives the film a raw touch and makes it quite ugly to look at. The hybrid sounding music score seems to actually work and fit right in, despite some junky passages.

Never boring, but there's no denying how unbelievably trite it turns out to be.